 |
Shaking Foundations
Two bassists offer divergent approaches to jazz
By Ron Wynn
APRIL 17, 2000:
The careers of bass giants Dave Holland and Ron Carter have
dovetailed only once, but that occasion forever altered not only the
direction of jazz, but of contemporary music as a whole. It was in 1968,
when Holland replaced Carter in the Miles Davis ensemble. A staunch
traditionalist, Carter disliked the electric bass and was uncomfortable
with Davis' desire to venture into funk and rock-influenced territory.
Holland's facility with either acoustic or electric, and his prior
experience with such early fusion units as the Spontaneous Music Ensemble,
made him a natural for the sessions that ultimately became the historic
releases In a Silent Way and Bitches Brew.
Since 1970, when Holland left the Davis fold, the two bassists
have served as poster boys for the intriguing struggle within jazz circles
over content and direction. Carter, a superb timekeeper and magnificent
technician, graduated from the Eastman School in 1959, and was a featured
member of the institution's Philharmonic Orchestra. He earned early praise
for his contributions to Chico Hamiliton's "chamber jazz" group, which also
featured Eric Dolphy. While that experience, as well as dates with pianist
Randy Weston and trumpeter Don Ellis, show Carter could hold his own in
less conventional settings, he has evolved into a champion of the
established order. He prefers mainstream dates emphasizing show tunes and
standards, and his own bands feature veterans whose compositions and
approach reflect the bop/hard-bop nexus.
British native Holland, by contrast, plunged into the avant-garde after
the Davis years, joining the quartet Circle with pianist Chick Corea,
saxophonist Anthony Braxton, and drummer Barry Altschul. They made
challenging, at times explosive music that was resolutely unappealing to
all but a small segment of the jazz audience. When Corea split to make
records that might reach more than a handful of listeners, Holland moved
even more outside. He would eventually cut the landmark date Conference
of the Birds with Braxton, Altschul, and fellow free stalwart Sam
Rivers. In addition to forming Gateway with guitarist John Abercrombie and
drummer Jack DeJohnette, he also found time to do some straight-ahead
recording with Stan Getz.
Carter's and Holland's differences extend beyond music: Carter is always
impeccably dressed and has appeared in several clothing ads; Holland is a
renegade who probably wouldn't dream of wearing a suit on his CD cover, let
alone in a magazine. But both men share interesting similarities as well.
Holland is just as prodigious a player as Carter, and both are exceptional
cello stylists. They're also accomplished musicians in non-jazz
idioms--Carter's reputation in classical circles almost equals his jazz
pedigree, while Holland has cut sessions with several bluegrass groups.
Each bassist has a new release that showcases his musical preferences.
Carter's Orfeu was recorded last February and reflects the influence
of his recent travels to Brazil; the disc also includes two Afro-Latin
numbers, plus one quasi-classical outing. Holland's Prime Directive
offers the latest from his critically acclaimed piano-less quintet, which
he has led in various incarnations since 1982. While both releases are
nicely engineered and produced, Holland's has a fresher, more adventurous
sound than Carter's.
Orfeu does contain one surprise in the presence of guitarist Bill
Frisell, a freewheeling type who can usually be found working in groups
like Holland's. There are none of the sonic splashes, distorted solos, or
boisterous voicings that normally constitute Frisell's stock-in-trade. He's
at ease on "Samba de Orfeu" and "Manha de Carnaval," smoothly working
behind the beat rather than in front of or with it. Pianist Stephen Scott,
drummer Payton Crossley, and percussionist Steve Kroon make an effective
team on Carter's "Saudade" and "Obrigado," with special recognition going
to Crossley's crisp textures on "Saudade." Tenor saxophonist Houston
Person's fortes are blues and ballads. While his solos are thick and
soulful, he's not as confident doing Brazilian fare as he is on the more
traditionally rooted numbers, such "1:17 Special." Here, Person's vigorous
tone and expressive phrasing are at their finest.
Carter, as always, is brilliant. His lines can be elegant or fierce, but
they are never ponderous. He navigates tricky tempos and quick rhythm
changes as smoothly as if playing a basic 4/4 setting, and when he solos,
there's nothing flashy or out of place. Orfeu is a solid,
occasionally exceptional work, though it doesn't have anything especially
new or groundbreaking to offer.
It becomes clearer what Orfeu lacks upon closer inspection of
Holland's Prime Directive. From the opening passages, which include
vociferous exchanges between trombonist Robin Eubanks and saxophonist Chris
Potter, almost every number on Prime Directive ripples with
intensity. Forget the usual rap about ECM releases being too somber and
stiff: Holland and drummer Billy Kilson catapult through such songs as
"High Wire" and "Prime Directive," challenging soloists and adding their
own punch to choruses. Vibist Steve Nelson juggles duties; sometimes he's
the glue, and on other occasions he gets to stretch out and display his
skills. Sandwiched between Eubanks' rubbery licks and Potter's slick
refrains, he provides a soft, yet equally assertive presence that more than
compensates for the absence of keyboards.
Holland spearheads everything from his bass chair. The mix puts him
squarely in the center; sometimes the tunes pivot off his support and other
times diverge from his foundation. When he does solo, he's more economical
and restrained than he was in the '70s. However, he remains a dazzling
player, fully capable of ripping off a surprise or two at just the right
moment. In the end, though, Prime Directive is a truly collective
work; the unison passages are just as impressive as the solo segments. And
though Holland penned five of the date's nine selections, the other four
members each contributed one composition.
The beauty of jazz is that neither Carter's nor Holland's approach is
right or wrong. It's great to hear first-rate mainstream material, but it's
just as vital that more daring composers and players continue to contribute
to the lexicon. Fans from both camps should enjoy Orfeu and Prime
Directive, though the latter speaks more directly to jazz's future than
the former does.

|



|